atm711

It's that chin....and Zoritch had a pointy one---I take back Skibine---he had beautiful line and this fellow is quite muscular---one more guess--Roland Guerard

One of the Georges---Skibine or Zoritch ???

(also i feel if my vids last as long as i do, i'm doing ok.)

...and, alas, that is the crux of the matter.

Thanks Bart, this clip is new to me. There is so little of Nora Kaye around, that even though it was a stretch for her I was so delighted to see her in anything. (she knew no limits as a dancer, she tried everything---i.e., Swan Lake, Black Swan and Giselle). Most of the ladies were past their prime, Alonso was 40 as was Kaye and Slavenska 46 to Hayden's 37. Alonso's technique held up best--oh, those feet, still so beautifully pointed on every small jump. I was privileged to have seen both Markova and Alonso as Taglioni in their prime. About 10 years before this particular tape I saw a live performance with Markova (Taglioni), Slavenska (Grahn), Krassovska (Grisi) and Danilova (Cerrito).

It is now playing in my area and I plan to attend this weekend.

Veering off topic somewhat, has anyone seen a good film this summer that is off the beaten/blockbuster track? If so, please report.

Golden Door----also, off topic,--I love Crossing Delancey---perhaps because in my youth I knew too many people like the snobbish writer.......

Thanks, Treefrog. Even in the form of abridged highlights, this is a powerful ballet.

Thanks again, it's a beautiful clip and I was again reminded of what a powerful work it is. When I saw it last season at ABT I was critical---and thought the ballet had run its course. At the time it appeared ineffectual and the group scenes had lost its pungency. But that clip was the Joffrey I remembered.

What surprised me about Macauley's wrap-up of the ABT season was his description of bracing himself to see four performances of Swan Lake---he chose Vishneva, Herrera, Dvorovenko and Wiles.....apparently he passed up what most of us were waiting to see for the past couple of years---Ananiashvilli's return.

I always had trouble with the opening movement (the Ave Maria) as I find it a bit too sentimental-a bit kitschy, no?

In the first version I saw of this work the 'Ave Maria' segment was tucked into the middle of the ballet---and there you might get away with talking 'kitsch' (well, maybe)---the girl was draped on a horizontal pole carried by two men....IMO Balanchine was so overcome with the beauty of the score that he got carried away, no matter which woman was dancing to the music. But I tell you, the highlight of that earlier Mozartiana was the dancing of the pdd at the end by Danilova & Franklin---that's what I miss when I see the latter version.

As in good wine after one has smelt the 'nose', savoured the taste and identified the various

flavours, the fouettes are the "after taste' before the final statement is made and all is emphatically revealed in expressive discussion.

I must stop gulping my wine......

Getting back to topic---any ballerina worth her salt would have dazzled the Prince in the preceding PDD. The fouettes are the cherry on top of the cake; nice to look at but it has nothing to do with the taste of the cake.

Frankly, I miss the days when the choreographers were the stars. When I go to the ballet today it's to see this, that, or the other one in an old classic and it is not nearly as satisfying. If I could re-live any period in ballet history it would be the 40's to the 60's when the Choreographer reigned.

I'd like to see Gala Performance revived - can you imagine it with Dvorovenko (Russian ballerina)

Yes, Yes, I thought the same---a role made in heaven for her. And Part as the Italian--wonderful choice.

Larger-than-life performing today?---just one, Nina Ananiashvilli---she joins the hallowed company of other larger-than-lifers: Danilova, Markova, Alonso, Chauvire, Fonteyn, Makarova.

Why all the Ashton?---'08 is the Tudor Centennial---certainly he did more to put ABT on the map than Ashton. So far, 'Leaves Are Fading' is set for the fall season and I hope it doesn't stop there. Also, Martins should chuck his R&J and revive Tudor's. (on second thought, I take that back. Lord knows what that heavy hand would do to that delicate beauty of a ballet)

I find Guillem and Zakhorova one act ponies who simply have high extensions, but little else.

If you can get past the intrusions of Guillem's extensions and feet I think you will find a fine artist there. I did.---as to Zakharova---you have a point well taken.

Masha Alexandrova (partner Tsiskaridze)

On the basis of the photos, that's the cast I'd hope to see when they bring it here

Yes, I thought so too. Corsaire has always been my least favorite of the old classics--no matter what production I saw. I hope Ratmansky works his magic with this one.

The Post has been having trouble determining the master-in-chief's character. The other day, the adjective of choice was "imperious," bringing to mind someone domineering or even dictatorial. At least "mercurial" has connotations of "the artistic temperament." I think of Orson Welles's "Mercury Radio Theater."

My Thesaurus describes 'mercurial' as 'bubbleheaded'

Rest in peace, beautiful Brooklyn Girl.

ah, while i patronized the Pollacks' store and the Ballet Shop, my only sense of the Kamin shop previously came only from the little "Kamin Books" stickers on the inside covers of books on my shelves. now, if i read this correctly, i see that the Kamin shop was taken over by the Pollacks and so partonizing them meant 'visiting' the site of the Kamin shop.

For those who did not know her, Sally Kamin was one of the most elegant women I have known. She was always impeccably dressed and made-up. Gracious is the word that comes to mind. Whenever we would ask who was her favorite dancer she would always say Uday Shankar.

Does anybody remember the Pollacks and their wonderful old bookstore? It was just around the corner on 6th Ave. from City Center.

I remember it as Sally Kamins bookshop. I spent lots of time and m oney there---I usually bought my books on the installment plan---I would drop off a dollar a week until the book was paid....and about 25 years ago I sold most of it to the Ballet Shop...

i'm probably not doing this right and any moderator that is so inclined can certainly fix or edit as they see fit.

i really like a lively discussion, and lively this one certainly is. for some reason it kept bringing to mind the following caricature by Alex Gard (of "Ballet Laughs" and "More Ballet Laughs"), which is not about critics really

Mme. Hermine---since I don't have the necessary skills to do it, perhaps you can also show the cartoon of the Critics---Anatole Chujoy, Walter Terry and John Martin---one knows where they are coming from by the books they are carrying...

All during the Season I was feeling sorry for myself because I could not attend this magic matinee....just as well---or I would be doing this:

No doubt, Nina's Swan is one for the ages---what a pleasure to see a TRUE ballerina dance the role. I loved her demeanor for the Black Swan---she was toying with the Prince and enjoying it immensely--rather than just being villianous. (Ah, the eternal female!). While watching her I couldn't help thinking how I wish there was another recording of her Swan Lake...the Perm recording is from 1992 and she has added so very much to her performances over the years. I also wished she had another Prince---Corella is not danseur noble enough for Nina.....

Those Italian girls have it every time---style and beauty

The lady I mentioned in the last paragraph of my post, above, is Miriam Golden.

Ah--Miriam Golden!--she looks great. She was so memorable as the Italian Ballerina in Tudor's Gala Performance. She and Alicia Alonso owned the role.